Apollonio Domenichini (formerly known as the Master of the Langmatt Foundation Views)

The painting is lighter in tone than the catalogue illustration would suggest. The canvas has been relined and one can discern the canvas weave through the paint surface in the lighter pigments. Otherwise the paint surface appears to be in good condition with no apparent damage or loss of paint except a minor loss in the upper left as is visible in the catalogue illustration. There is also a very minor surface scratch in the top right corner of the building on the left, which can again be seen in the catalogue illustration. There is evidence of surface dirt and a discoloured varnish overall. Examination under ultraviolet confirms the presence of a milky varnish and reveals some old minor scattered cosmetic retouching throughout the sky. Offered in an elaborate gilt wood frame in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is a composition that was particularly popular in Canaletto's studio in the early 1740s; the present painting is based on Bellotto's version of circa 1743 in the Fitzwilliam, Cambridge.¹  In the Fitzwilliam painting Bellotto deviates from Canaletto's version in the details of the awning and figure in the doorway lower left which are replicated almost exactly in the present painting.  Bellotto's version was much copied in the following decades suggesting that it remained in Venice, probably within the studio of Canaletto, and was accessible to other artists. The fact that Domenichini had access to it during this period is further evidence of his close association with the studio of Canaletto.

We are grateful to Charles Beddington for endorsing the attribution to Apollonio Domenichini after inspection of the original.


1. See S. Kozakiewicz, Bernardo Bellotto, London 1972, vol. II, pp. 11-13, cat. no. 7, reproduced.